BECAUSE THE CHILD COOKS IN POLENTA
BECAUSE THE CHILD COOKS IN POLENTAProduction: Cia. Mungunzá de TeatroDirection: Nelson BaskervilleYear: 2008
Synopsis
Based on the work of Romanian writer Aglaja Veteranyi, the montage was adapted by Nelson Baskerville, who is also the director. Told by a teenager who defends herself against degradation. Told through a child’s point of view, the play is both lyrical and cruel. Mom hangs from the trapeze by her hair every night and dad is a clown who doesn't believe in God. While in exile, touring Central Europe, the girl, alongside her older sister, is hurled against the shattering of all her ideals, as well as the price for each of them.
History
Six seasons in São Paulo and participation in national festivals, including the Curitiba and Recife festivals. It was contemplated by the art grant: PROAC Circulation 2010. It received more than 35 awards and nominations in several categories, including Best Play at FETACAM (Campo Mourão’s Festival); 2nd Jundiaí Theatre Exhibition; XXXIII Feste (National Festival of Pindamonhangaba); 4th Mogi Theatre Deck; 37th FENATA (National Theatre Festival of Ponta Grossa); 12th Americana Theatre Festival; and 5th FENTEPIRA (Piracicaba Theatre Festival).
Credits
Author
– Aglaja Veteranyi. Portuguese Translation – Fabiana Macchi. Adaptation and Direction – Nelson Baskerville. Cast – Sandra Modesto, Verônica Gentilin, Virginia Iglesias, Lucas Bêda e Marcos Felipe. Musician – Gustavo Sarzi. Stage Technicians – Leonardo Akio e Pedro das Oliveiras. Assistant Director – Ondina Castilho. Musical Direction – Ricardo Monteiro. Preparation of Actors – Ondina Castilho e Flávia Lorenzi. Lighting Designer – Wagner Freire. Costume Designer – Aurea Calcavecchia. Costume recovery – Marichilene Artisevskis Hair and Makeup Design – Fabia Mirassos Set Design – Flávio Tolezani. Video Maker – Patrícia Alegre. Production – Cia. Mungunzá de Teatro. Press Office
– Nossa Senhora da Pauta. 80 min. * Recommended for ages 16+
Reviews
"It's not a game we're used to. The pact is different. We were unaware. The audience becomes part of the strange circus. The warping mirror finally deforms us at the end of the first act." Juliana Calligaris
“The first sentence I formulated when thinking about the show was: let's put a tarp in the sky and let's admit once and for all that we are in a circus. A circus more of horrors than of joys”. Gracyela Santos
RIDER
